Jamahr discusses the Italian scene...

Turin’s electronic music scene is a thriving underground movement that has shaped the city’s nightlife for decades. Known for its raw energy, unconventional party spaces, and a strong community of talented DJs and producers, the city has carved out a unique space in Italy’s music culture. For Jamahr, a key figure in the scene, growing up in this environment was both inspiring and formative. His journey—from being a passionate club-goer to performing alongside legends like Villalobos and tINI—has been one of continuous learning and evolution. As a solo artist, he’s embraced creative freedom while maintaining the signature Jamahr sound, blending deep, tech, and electro influences. 

Through his label, Captea, he champions emerging talent, focusing on quality over hype. Now, with exciting releases ahead and ambitions to expand globally, particularly in South America, Jamahr is ready for the next chapter of his career—both in the studio and behind the decks. We caught up with him recently to learn more… 

How would you describe the electronic music scene in Turin? Was it an inspiring place to grow up?

‍I've been part of Turin’s nightlife for over 15 years, and I have to say it’s always been exciting. The city has a strong underground scene, which is reflected in its music and parties. There’s always been great energy and incredible music to discover.

What makes Turin stand out compared to other cities in Italy in terms of music culture?‍

Turin's underground nature sets it apart. Beyond the clubs, there are plenty of urban spaces that lend themselves to unique party experiences. The local scene is also home to many talented DJs and producers who bring a strong creative presence to the city.

You’ve shared the stage with legends like Villalobos, tINI, and Alex Neri. What have you learned from playing alongside them? Do you feel pressure when you do?‍

Since becoming a resident at Savana Potente in September, I’ve had the chance to play with artists I could only have dreamed of performing alongside a year ago. Watching their ease and dedication is inspiring—it shows just how much work goes into reaching their level.

The most nerve-wracking night for me was with tINI. She’s been a major influence and is my favourite DJ, so I was really excited to share the booth with her.

How does the energy in Turin compare to other major cities where you’ve performed?‍

Turin—and Italy in general—has a passionate and energetic crowd. It’s part of our culture. When I’ve played in London, for example, the audience had a different vibe—still engaged, but with a different kind of energy.

‍Are there any local artists in Turin who you think deserve more attention?‍

Definitely! Voodoos & Taboos are an incredible duo, both as DJs and producers, and they deserve even more recognition. Other artists I really respect and hope to see grow include Viceversa, Cipi, Ace Vision, and the guys from Outcast, who are already making waves internationally.

‍The Jamahr project is now just you. How has your approach to music changed since going solo?‍

Jamahr originally started as a duo with my close friend Jacopo Iotti. The name itself comes from the initials of our names (JA + MAR). At first, I struggled with not having someone to bounce ideas off, but over time, I gained a deeper understanding of my own tastes and was able to experiment more, both in production and in my musical research.

‍Do you feel more freedom or pressure when producing and DJing solo?‍

There’s definitely more pressure when DJing—performing in front of an audience is always intense, even though it’s also exciting. In the studio, I feel more relaxed, but creativity can still be unpredictable—some days, inspiration just doesn’t come.

How do you ensure your solo music still retains the identity of Jamahr?‍

I try to maintain a recurring motif, often using vocal elements instead of melodies. My sound has evolved over the years—from a more minimal/deep style to a tech, acid, and electro influence—but that’s part of natural growth. Change is important, both in production and DJing, to expand your musical range.

‍What inspired you to start your label, Captea? How do you decide which artists or tracks to release?

‍Memoria Records approached us after we had successful releases on labels they managed. With Captea, I focus on supporting artists whose music I truly believe in. I don’t follow trends—I have to be a fan of an artist before signing them.

What role does Captea play in supporting up-and-coming talent?‍

Quality is the key. I released Liquid Earth’s music on Captea in 2019/2020 when he was still working as Urulu because I already loved his sound. The same goes for TJacques and Dott—I signed them because their music resonates with me.

‍Are there any upcoming releases on Captea that you’re excited about?‍

After six vinyl releases, I’m now focusing on a digital series. The first came out last month, featuring my EP with a remix by Aerofunk. Next up is the 002 release, featuring remixes from two rising talents, Marc Satseg and Juzel. The third digital release will be curated by Massimo Girardi, and trust me, it’s going to be a bomb EP!

What has it meant to you to release music on respected labels like Inmotion, Yoruba Grooves, Kosmophono, and After Caposile? How do you adapt your style for different labels while keeping your signature sound?

I always make sure my music aligns with a label’s style. There’s no point in sending tracks to a label if they don’t fit its identity. The first three labels you mentioned represent the Dub/Tech/Minimal phase of my sound, whereas After Caposile is more in line with my current direction.

‍Are there any particular releases from these labels that you’re most proud of?

Definitely After Caposile, not just because it’s on vinyl, but also because I played at their showcase in May 2024 with my friend Franko Lopez.

What makes After Caposile such a special venue for electronic music? Do you think any other city leads the way?

After Caposile is a magical place. I’ve played there several times, and the combination of the venue, the crowd, and the energy makes it truly special. Over the years, thanks to ongoing improvements, it has become one of the best venues in Italy and beyond. The Venetian scene, in general, is really strong, with amazing parties happening all over the region.

What would you like to see more of in the Italian electronic music scene?

I’d love to see clubs become more populated again. Lately, I see a lot of ‘private party’ and ‘secret location’ events—many of which look like they’re in basements. It’s true that clubs in Italy face a lot of restrictions, which pushes people towards these underground parties. But personally, I prefer proper clubs.

How did your collaborations with Franko Lopez come about?

Franko is an old friend and my mentor. I started DJing by watching him, so whenever we can, we get together in the studio to make music.

What does a typical collaboration session with Franko Lopez look like? How do you balance each other’s strengths in the studio?

Franko has a wider musical background than me, so we spend a lot of time fine-tuning sounds and making sure our music isn’t predictable. He’s a real selector when DJing, which pushes me to be at my best during our B2B sets.

What’s next for you—musically, professionally, and personally—that you’re excited about?

A few months ago, I joined FAM Booking, an agency handling bookings in South America. Two years ago, I came close to doing my own tour there, and now, I really hope it becomes a reality with their help.

Beyond that, I just want to keep improving in the studio and behind the decks.

If you could introduce your music with just one track, what would it be and why?

That’s a tough one! But I’d probably say Ikonika - PR812. I’ll let the music speak for itself.

Keep up with Captea on Soundcloud

Keep up with Jamahr on Instagram and Soundcloud